MLI Exemplar Vivaldi & Davis by Samuel Wright

To what extent do diatonic melodic development and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the pieces Miles Davisâ&#x20AC;&#x2122; Boplicity and Antonio Vivaldiâ&#x20AC;&#x2122; Mandolin Concerto C-maj RV 425 mvt 1? Music HL Session: May 2018 Candidate Nr: 049897 -0021

Link 1: Pitch: Diatonic Melodic Development (Rhythmic Development) Link 2: Structure Piece 1: Miles Davis Boplicity Piece 2: Antonio Vivaldi Mandolin Concerto in C-maj RV 425

To what extent do diatonic melodic and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the piece Miles Davis’ 2 Boplicity and Antonio Vivaldi’ Mandolin Concerto C-maj RV 425 mvt 1?

Introduction Although there is huge historical gap between the two musical genres of 17th Century Baroque and jazz music between 1940-60, certain musical connections can be established. Diatonic melodic development is when the melody is purely based upon the chord and the given keynotes1 and can often be found in Baroque music like Antonio Vivaldi’ Mandolin Concerto RV 425. Melodic development and rhythmic development are the use of inversion, augmentation and diminution of an already given melody or rhythm2. The musical form of a piece refers to the overall structure of a piece, such as binary form AB or Rondo ABA/ABACA. The pillars of the musical form are supported by the elements of harmonic frameworks (eg. circle of fifths) and melodic development (eg. arpeggios), as these often give the layout for sections of a piece3. This is evidently seen through comparison of the Bebop styled work, Miles Davis’ Boplicity.

1Andrew Pouska. Intro to Diatonic Harmony, (http://www.studybass.com/lessons/harmony/intro-to-diatonic2 Toby Rush, Motivic Development

(http://tobyrush.com/theorypages/pdf/0210motivicdevelopment.pdf) Accessed December 2. 3 F.E. Kirby Musical form (https://www.britannica.com/art/musical-form, 2015) Accesed December 8.

TO WHAT EXTENT DO DIATONIC MELODIC AND STRUCTURE, SHOW CONNECTIONS BETWEEN THE GENRES OF COOL JAZZ/BEBOP AND BAROQUE INVESTIGATED IN THE PIECE MILES DAVIS’ BOPLICITY AND ANTONIO VIVALDI’ MANDOLIN CONCERTO C-MAJ RV 425 MVT 1? 3

Diatonic Melodic and (Rhythmic Development) in Miles Davis’ Boplicity

Miles Davis’ Boplicity, recorded in 1949 and published in 1957 in the album

The Birth of Cool, is a mixture of Cool Jazz and Bebop4. Bebop is a fast paced musical style, which is based upon the Bebop scale whilst Cool Jazz is slow paced and more focused on melody in respect to harmonic changes than rapid chromatic improvisation over a harmonic framework5. Brief elements of Bebop can be seen for example in the recognisable 32 bar tune, which can be broken down into 4 sections of 8 bars each representing a AABA standard form (figure,1 ,2, 3). The A section of the melody is written in F major, however manages brief tonal changes to Bb major in bar 5 (Figure 1)6, which shows that this is a mixture of Cool Jazz and Bebop.

Figure 1 Melody of Alto Sax Miles Davis’ Boplicity mm 1-97 Motive A (transposed for Alto Sax)

4 Avril Dankworth, Jazz An Introduction to its Musical Basis (London: Oxford University Press 1968),

101-108 5Artopium Bebop (https://musicterms.artopium.com/b/Bebop.htm, 2017) Accessed February 17 6 Art Carvajal How Miles Davis cooled 52nd street (http://arthurcarvajal.blogspot.co.at/2013/04/birth-of-cooland-boplicity-how-miles.html, 1970) Accessed December 1. 7 Miles Davis, Birth of the cool: scores from the original parts (Hal Leonard 2001), 84

To what extent do diatonic melodic and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the piece Miles Davisâ&#x20AC;&#x2122; 4 Boplicity and Antonio Vivaldiâ&#x20AC;&#x2122; Mandolin Concerto C-maj RV 425 mvt 1?

Figure 2 Melody of Alto Sax Miles Davisâ&#x20AC;&#x2122; Boplicity mm 9-17 Motive A repeated (changes from Motive A in red)(transposed for Alto Sax8.

Due to the unique cadence of v7sus4 to I7 #11 in bar 7-8, it can be argued that there is a use of extended harmony to push the motion of the piece forward and form a musical sentence. This shows that the melody of this section (mm1-9) is based upon the harmonic structure, since the leading note is going to an F in the Alto Sax (bar 8). Knowing that the 8 bar A section will repeat due to the AABA form, bar 9 has almost the same notes as bar 1, with the exception of F and the F#, and the arpeggiated Fmajor chord in 8ths. This is an element of rhythmic and melodic development. As in the repetition of the figure, minor changes in melody take place where a few notes get switched, however the harmonic framework stays the same as well as the phrasing. Overall, this shows how the melody is altered to create melodic development but the leading notes stay the same, where it can be argued that this is almost based upon a diatonic figure. Motive B starts with bar 17(Figure 3) and mainly consists of repeating rhythmical figures in (in red)bars 17-18 where the use of arpeggios supports the harmonic framework which seems to be based on descending major 6th intervals, as outlined by the green box in figure 2. This supports the fact that the melody is outlined by a harmonic framework, which can be argued to be a loose use of diatonic harmony, due to leading notes sticking to mode of F-Mixolydian Bebop.

8 Ibid

Figure 3 Motive B Miles Davis Boplicity mm 15-259 (transposed)

However, Motive B also consists of rhythmical phrases that have been used before in Motive A (red), since the repetition of bar 17-18 in bar 21-22 is imperfectly transposed down a 4th, it is most evident that motivic development takes place, not just in terms of rhythm, but also in terms of the sequential changes. When melodies are repeated in this piece they are sequenced along with the harmony; they are connected. In bar 25-33 motive A (Figure 4) gets repeated which then leads towards the solo/improvisation section of the piece.

9 Miles Davis, Birth of the cool: scores from the original parts (Hal Leonard 2001), 86

To what extent do diatonic melodic and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the piece Miles Davis’ 6 Boplicity and Antonio Vivaldi’ Mandolin Concerto C-maj RV 425 mvt 1?

Figure 4 Melody of Alto Sax Miles Davis’ Boplicity mm 1-910 Motive A red and Motive A green mm 25-33 (transposed for Alto Sax)

In general, in both motives, rhythmical figures such as the quarter triplet and its parallel ½ diminution is generally repeated throughout the entirety of the piece. This again shows that the rhythmical development contributes to the structure of this piece.

Melodic and (Rhythmic Development) in Antonio Vivaldi’ Mandolin Concerto Cmaj RV 425 mvt1. Antonio Vivaldi is known for perfecting the form of the concerti grossi, which he clearly established in his 12 concerti grossi op.311. Antonio Vivaldi’s Mandolin Concerto C-maj RV 425, is amongst one of his most famous works, due to the unique and complex composition of this piece. 10 Miles Davis, Birth of the cool: scores from the original parts (Hal Leonard 2001), 84, 87 11 Michael Talbot Antonio Vivaldi (https://www.britannica.com/biography/Antonio-Vivaldi, 2017) Accessed

December 7

Figure 5 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 1-11, Red Motive A , Green Motive B.12

Section A from mm 1-11 can be divided into two motives (figure 5) of A (red) and B (green), which follows a motive structure of A, A, B. Motive A follows a harmonic structure of I-V-I-V repeatedly. However, the I is an inversion which suggests the use of harmony to form complexity in the musical sentence through sequences, 7th’s and suspensions (figure 6).

Figure 6 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 8 (7th chord in red)13

12 Antonio Vivaldi, Concerto in do maggiore per mandolin, archi e cembalo (Edizioni Ricordi, 1950) 1 13 Ibid, 2

To what extent do diatonic melodic and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the piece Miles Davis’ 8 Boplicity and Antonio Vivaldi’ Mandolin Concerto C-maj RV 425 mvt 1? This shows that melodic development takes place through the use of a harmonic framework. There is a general rhythmical figure of 5 grouped 16th in 4 where the first 16th of a group is ‘melodically disjunct’ from the other three 16th as shown in Figure 4 (red) where there is a difference of an octave. These grouped 16th figures reappear in motive B. However, then in Motive B, instead of an harmonic framework of I-V-I-V, the motive moves through the cycle of fifths resulting in a B/G to a C maj which is a V7-I cadence (like in Boplicity Figure 1). That use of structured harmonies again shows how harmonic framework is used to create diatonic melodic development. Also, one can argue due the fact that the pattern of 16th changes in bar 9, into a descending arpeggiated thirds pattern (Figure 7), showing the use of melodic development leading to the ending of the motive B.

Figure 7 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 914

The Ripieno (stuffing) simply copies either the melody in the mandolin, or the rhythmic pattern in the bass, with the exception of the viola, which stays in an octave 8th pattern (Figure 5).

Figure 8 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 11-16 Subject, Red copy of motive B bar 9, Green transposition1 of red, Blue transposition 2 of red, Orange inversion of 16th pattern in cycle of fifths15

14 Antonio Vivaldi, Concerto in do maggiore per mandolin, archi e cembalo (Edizioni Ricordi, 1950), p1 15 Antonio Vivaldi, Concerto in do maggiore per mandolin, archi e cembalo (Edizioni Ricordi, 1950) 2

Figure 9 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 14-16 Countersubject in the Cello16

The solo section in Figure 8 is constructed mainly of the repetition of figures

out of motive B, as the red box outlines the exact repetition of bar 9 in motive B, this motive gets transposed by a whole step in the green box and another whole step in the blue box. The orange box shows how the cycle of fifths framework from motive B is augmented and partially inverted in the 16th group pattern. This clearly outlines that the melody in solo section 1 is based upon motive B. With the countersubject in the cello (Figure 9).

Figure 10 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 16-22.5, Red repetition of cycle fifths, green descending pattern into cadence.17

Solo section 1 continues in bar 16 to its end at bar 22.5 (Figure 10), where the solo section 1 again moves through the cycle fifths in ascending pattern (red). However, that concept gets inversed, ending with a cadence of Dmaj-Cmaj which is II – I6, which therefore shows a change in the use of cadences since the previous cadence was a V-I (bar 1). That again shows how harmony and rhythmic figuring contributes to the melodic diatonic development. Knowing that, it can be argued that the 16 Ibid 17 Antonio Vivaldi, Concerto in do maggiore per mandolin, archi e cembalo (Edizioni Ricordi, 1950) 3

To what extent do diatonic melodic and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the piece Miles Davisâ&#x20AC;&#x2122; Boplicity and Antonio Vivaldiâ&#x20AC;&#x2122; Mandolin Concerto C-maj RV 425 mvt 1?

1 0 structure of the form is based upon the concept of motives and harmonic frameworks.

Form/Structure of Miles Davisâ&#x20AC;&#x2122; Boplicity The Overall sections of the piece can be divided into 4 parts: A (mm 33), Improv (mm 49), B (mm67), Improv (mm 91), A* (mm 100)18. This summary almost seems like a Rondo/Solo Form: A, solo, B, solo, A. Therefore one could argue that Miles Davis took his form for this piece straight out from the Baroque era. Furthermore, the Instrument structure is almost like a concerto grosso, due to the fact that the piece can be divided into a concertino section of Trumpet, Alto Sax, and Baritone Sax and a concerto grosso/stuffing section consisting of, Horn Trombone, and Tuba, as well as a bass section consisting of a walking bassline, a piano and Drums19. Therefore, it can be concluded, since the bass entirely consists of quarter notes, that this is very close to basso continuum, from the Baroque era. The basso continuo is considered to be the pulse of a piece and serves as metronome, and countersubject towards the main melody. It is the same for the walking bassline in Boplicity.

Figure 11 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm 7-8 Basso Continuo20

18 Miles Davis, Birth of the cool: scores from the original parts (Hal Leonard 2001), 84-93 19 Ibid, 84 20 Antonio Vivaldi, Concerto in do maggiore per mandolin, archi e cembalo (Edizioni Ricordi, 1950) 2

Figure 12 Miles Davis Boplicity mm 1-2 Bassline21

Therefore the form/structure of this piece is almost identical to the Baroque form and structure of the concerti grossi. It is the same for the Texture since the layers of the piece are, as well, almost identical to the texture and the layers of a concerti grossi form.

Form/Structure of Antonio Vivaldi’ Mandolin Concerto C-maj RV 425 mvt 1. The piece can be divided into again into similar layout like Miles Davis’ Boplicity, A, Solo, B, Solo, A, Solo, C, Solo, A, which seems to be a mixture of rondo and Solo form, which is applicable to the historical style. It clearly shows that the piece is based upon motives and harmonic framework. In terms of the layers and the texture, the piece is also divided into the solo instrument, the mandolin, the stuffing consisting of the Violine I and II, Viola, Violoncello, Contrabassi, and the bass, which is a cembalo. This again shows that the layering is almost identical in the structure to the piece Boplicity. Furthermore, the figure of the bass is made up entirely of the idea of a basso continuo, which has the same function as in Boplicity; which is to create the pulse and act as a countersubject towards the melody in the solosections.

21 Miles Davis, Birth of the cool: scores from the original parts (Hal Leonard 2001), 84

1 2

To what extent do diatonic melodic and structure, show connections between the genres of Cool Jazz/Bebop and Baroque investigated in the piece Miles Davis’ Boplicity and Antonio Vivaldi’ Mandolin Concerto C-maj RV 425 mvt 1?

Figure 13 Antonio Vivaldi Mandolin Concerto C-maj RV 425 mm switch from Violicelli to Contrabassi in Basso continuo22

However, the difference to Boplicity is that the basso continuo sometimes stops and switches layers to the cello in the solo sections (Figure 13), to create a more interesting contrast between the solo instrument and the accompaniment in the Solo sections.

Conclusion Statement: Based upon the score examples and analysis, it can be concluded that similarities between Miles Davis’ Boplicity and Antonio Vivaldi’ Mandolin Concerto RV425 can be drawn. However, it is evident that certain techniques, like extended harmony and unique scales (Mixolydian Bepop), go far beyond the boundaries of Baroque music. The analysis of Link One shows that the melody and its development are based upon a harmonic framework common to both works, and stays diatonically related to its scale. Link Two shows that both works have a similar build up in texture and rely on a definite standardized form with respect to their given time period. 22 Antonio Vivaldi, Concerto in do maggiore per mandolin, archi e cembalo (Edizioni Ricordi, 1950) 4

Bibliography

Artopium. “Bebop” Artopium 18 Dec. 2017 https://musicterms.artopium.com/b/Bebop.htm Accessed February 17 Carvajal, Art. “How Miles Davis cooled 52nd street” Blogspot , 1970, http://arthurcarvajal.blogspot.co.at/2013/04/birth-of-cool-and-boplicity-howmiles.html Accessed December 1 Dankworth, Avril.1968 "Jazz and Introduction to its Musical Bases" 92. London: Oxford University Press,0193165015 Davis, Miles. 2001 “Birth of the cool: scores from the original parts” Wilmaukee: Hal Leonard, 9780634006821. Kirby, F.E. “Musical form” Encyclopaedia Britannica 2015 https://www.britannica.com/art/musical-form, Accesed December 8. Pouska Andrew. “Intro to Diatonic Harmony” StudyBass 2003, http://www.studybass.com/lessons/harmony/intro-to-diatonic-harmony/ Acessed February 17 Rush, Toby, “Motivic Development” http://tobyrush.com/theorypages/pdf/0210motivicdevelopment.pdf Accessed December 2. Talbot, Micheal. “Antonio Vivaldi” Encyclopaedia Britannica 2017 https://www.britannica.com/biography/Antonio-Vivaldi, Accessed December 7

1 4 Vivaldi, Antonio. “Concerto in Do Maggiore Per Mandolino Archi E Cembalo” 1950 Italie: Edozioni Ricordi, Tomo 98